Mircea Eliade (1938)
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HOTĂRÂRE Privind Aprobarea Nomenclatorului De Artere Al Municipiului Iaşi
Municipiul Iaşi Consiliul Local HOTĂRÂRE privind aprobarea Nomenclatorului de artere al Municipiului Iaşi Consiliul Local al Municipiului Iaşi, întrunit în şedinţa ordinară în data de 31 mai 2017; Având în vedere iniţiativa Primarului Municipiului Iaşi prin expunerea de motive la proiectul de hotărâre; Având în vedere avizul favorabil întocmit de Comisia de Amenajare a Teritoriului și Urbanism a Consiliului Local al Municipiului Iași ; Având în vedere avizul favorabil întocmit de Comisia Juridică şi De Disciplină a Consiliului Local al Municipiului Iaşi; Având în vedere O.U.G. nr.64/2010 privind modificarea şi completarea Legii cadastrului şi a publicităţii imobiliare nr.7/1996; Având în vedere referatul de specialitate întocmit de Serviciul G.I.S.-Cadastru, Având în vedere prevederile Legii nr. 52/2003 privind transparenta decizionala in administratia publica, republicata ; Având în vedere dispoziţiile Legii privind normele de tehnică legislativă nr.24/2000 cu modificările şi completările ulterioare, Având în vedere dispoziţiile Legii nr.215/2001, privind administraţia publică locală, republicată cu modificările ulterioare, În temeiul art.115, alin.1, lit.b din Legea nr.215/2001, 1 / 2 la H.C.L. nr. 208 din 31 mai 2017 HOTĂRĂŞTE: Art.1. Se aprobă Nomenclatorul de artere al Municipiului Iaşi cuprins în anexa care face parte integranta din prezenta hotărâre. Art.2. Se radiază următoarele denumiri de arteră: strada Octav Băncilă, trecătoarea Hotin. Art.3. La data adoptării prezentei hotărâri îşi încetează aplicabilitatea reglementările anterioare. Art.4. Copie după prezenta hotărâre va fi comunicată: Primarului Municipiului Iaşi; Directiei de Arhitectura si Urbanism; Serviciul G.I.S.-Cadastru, Direcţiei Locale de Evidenţă a Persoanelor, Direcţiei Generale Economice şi de Finanţe Publice Locale, Biroului Judeţean de Administrare a Bazei de Date şi Instituţiei Prefectului Judeţului Iaşi. -
Ionela-Carmen Banța, Ovidiu Bîrlea. Critical Edition from the Original
Book Review: Ionela-Carmen Banța, Ovidiu Bîrlea. Critical edition from the original documentary funds, National Museum of Romanian Literature Publishing House, Aula Magna Collection, 2013 Vlad Ovidiu CIOACĂ, student Faculty of Social Sciences University of Craiova Email: [email protected] 1. About author and book In 2013, at the Publishing House of the Romanian National Literature Museum, the light of the printing press was a work that would record and disseminate the fruits of an extensive research on the Bârlea brothers, made by a reference frame of the Faculty of Letters of the University of Craiova: university doctor Carmen Banta, under the coordination of professor Nicolae Panea. With a rich research activity, Mrs. conf. Dr. Carmen Banta revolves around vast fields such as folklore, ethnology, cultural anthropology, Romanian literature, etc., supporting many courses in related fields at the Faculty of Letters in Craiova. The paper I will present below is published in the framework of the project "Valorisation of cultural identities in global processes", co-financed by the European Commission and realized through the Romanian Academy. Co- financing of the work was done through the European Social Fund through the Sectoral Operational Program Human Resources Development 2007-2013. 71 2. Structure and content The central personality of the work is Ovidiu Bîrlea (1917-1990), a well- known Romanian folklorist, writer, researcher and ethnologist, brother of the historian, theologist and monsenior Octavian Bârlea (1993-2005). The book is structured in two parts: the first part comprises a theoretical synthesis, which is divided into four chapters, and the second one brings together in a corpus the most relevant texts from the correspondence of the folklorist. -
ART REVIEW AS REFLECTED by the ROMANIAN PRESS (1900-1914) - Abstract
ART REVIEW AS REFLECTED BY THE ROMANIAN PRESS (1900-1914) - Abstract - The doctoral thesis is structured according to five major units: Introduction, the six central chapters, Conclusions, References and Appendices. The paper has a total of 260 pages, of which 216 pages are the text itself, with 891 footnotes. In the Introduction I presented the reasons for choosing the subject of the paper, reminding the most important studies and research previously developed in the relevant historiography. Also, I mentioned the methods used and I listed the main cultural magazines analysed for the period between 1900 and 1914. The analysed Romanian press included both cultural magazines from the former kingdom (“Convorbiri literare”, “Noua Revistă Română”, “Sămănătorul”, “Viața Românească”, “Furnica”, “Flacăra”, etc.), as well as magazines from Transylvania (“Luceafărul”, “Transilvania”, “Țara Noastră”, “Telegraful Român”, etc.). On the other hand, I attempted a comparative analysis of the Romanian press and the western press in terms of art reviews. For this purpose I chose prestigious foreign art magazines of the time, consulted on the occasion of the mobility period spent in Italy, such as “Emporium”, “Vita d’arte”, “Il Giornale d’Italia”, “Il Marzocco”, “La Stampa”, etc. Also, I studied the funds of the International Exhibition in Rome in 1911, in which our country participated as well, the delegation of which was conducted by Al. Tzigara-Samurcaș, found in the central state archives in Rome. The second part of the thesis includes the actual research, where Chapters 1-6 are the original contribution of the author. In I. Social and Cultural Context in the Early Twentieth Century for the Romanian Elite I presented briefly the cultural and social framework in which the Romanian artists lived, were educated and created, as reflected in the press. -
Critical Appreciations Concerning the Dramaturgy and Sketches of I
Annals of the „Constantin Brâncuși” University of Târgu Jiu, Letter and Social Science Series, 4/2015 CRITICAL APPRECIATIONS CONCERNING THE DRAMATURGY AND SKETCHES OF I. L. CARAGIALE Associate Professor Ph D, Mirabela Rely Odette CURELAR “Constantin Brâncuşi” University of Târgu-Jiu ABSTRACT: LITERARY CRITICISM AS FROM POMPILIU CONSTANTINESCU, G. CALINESCU VIANU TUDOR SERBAN CIOCULESCU, ALEXANDRU PIRU AND CONTINUING SILVIAN IOSIFESCU ION CONSTANTINESCU, V. FANACHE AND OTHERS AT LEAST AS VALUABLE FIXES CARAGIALE'S WORK AND CHARACTER BALKAN PERSPECTIVE CARAGIALE AUTHOR APPRECIATED AS A MASTER OF HUMOR BY USING PHILOSOPHICAL GESTURES. THE WRITER COMES BACK WITH "POLITICS", STATED TALKING BANTER HIS GENIUS CONSISTING OF MUCALIT, WHICH AWAKENS THE ADMIRATION. IN LITERARY CRITICISM IN THE LAST QUARTER CENTURY, CARAGIALE'S CHARACTER EMERGES AS A "LEGENDARY" CHARACTER, A KIND OF URBAN PĂCALĂ. KEY WORDS: CRITICISM, THE MORALIST, TYPOLOGICAL CHARACTER, ENIGMATICAL COMIC, COMIC ATMOSPHERE. Caragiale's work projects a real world, described in terms of often unreal or concealed by its weaknesses in order to contemplation of reality with a self-ironic elegance. Caragiale may be defined as a moralist, that a writer concerned about the man's character and morals in his social relations "political animal," as Aristotel understood him the human in the city (polis). From this derives political leader of his trilogy thread comic: A Stormy Night, Cone Leonida face to Reactionaries and The Lost Letter. Caragiale views man in society no longer sees in nature, man sees in the interdependence of its social, but not interdependent cosmic human of the mountains, the hills, the plains of the Danube, by the sea, and so on It is sensitive to social categories, clearly distinguishes categorical language, captures the conflicting interests, connections and conflicts of ideas in the social life. -
Cercetările Multidisciplinare Ale Echipelor Profesorului Dimitrie Gusti La Fundu Moldovei
Cercetările multidisciplinare ALE ECHIPELOR profesorului DIMITRIE GUSTI la Fundu Moldovei Ala MOVILEANU1, Constantin PĂTRAȘCU2 [email protected] ABSTRACT: The sociological research campaign from Fundu Moldovei locality was developed in 1928 by Professor Dimitrie Gusti and it was by far one of the best activities of the Sociology Seminar of Bucharest University. The research had a multi‑disciplinary character and lasted 30 days gathering 60 researchers from all domains: anthropology, economy, musicology, fine arts, architecture, choreography, geography, medicine etc. There was a great period for monographic ideas to revive. In Fundu Moldovei locality was organized the first sociological exhibition that brought Romania the golden medal into an international exhibition at Barcelona. After that the idea of creating a sociological museum came out (an idea for the future village museum) and also was created The Association of monographs. During the research was collected a great amount of sociological materials: personal records, photographs, etc. Part of the collected materials was published in books and magazines. KEYWORDS: The sociological research, Professor Dimitrie Gusti, Village Museum, Fundu Moldovei locality. Organizarea Muzeului Satului nu trebuie discutată independent de contextul a ceea ce sociologia mondială a numit Şcoala sociologică de la Bucureşti, al cărui iniţiator şi conducător a fost prof. Dimitrie Gusti, activi‑ tate ce îl face cunoscut în istoria sociologiei româneşti ca autor al primului sistem de sociologie ştiinţifică, creatorul învăţământului sociologic din ţara noastră, personalitate de notorietate mondială. Experiment interdisciplinar inedit, comentat şi azi favorabil în Europa şi în S.U.A., axat cu precădere asupra lumii rurale, Şcoala sociologică de la Bucureşti a oferit afirmarea principiilor gustiene, în cadrul cărora 1 Muzeograf, dr. -
Book of Abstracts
ANNALES UNIVERSITATIS APULENSIS. SERIES PHILOLOGICA, no. 17, issue 3 / 2016 STUDII DE CULTURĂ ŞI LITERATURĂ / CULTURE AND LITERATURE STUDIES EDITORIALUL ŞI LITERATURA: STRATEGII ŞI TEHNICI Drd. DRAGOȘ ZOLTAN BAKO Universitatea „Lucian Blaga” din Sibiu Abstract: The persuasiveness that a journalist can achieve in relation with his readers, through writing, is invariably connected to the act of creation. The linguistic strategies have determined a classification according to the type of language used in the editorials of the following journalists: an intellectualised language in Andrei Pleşu’s case (given by the value and aim of the addressability), a pamphlet language in the case of Mircea Dinescu, a raw language specific to Cristian Tudor Popescu, cautious language in Mircea Cărtărescu’s case. Starting from the idea that the image constructs itself in the form of analysis, somewhere between symbol and sign (Durand, 1977:34), the editorial often uses so-called systems of image, which know two fundamental types of expression: ideatic and mediatic (LULL, 1999: 15). Thus, the images are constructed by resorting to the “vibrant forms” of reality, that are sometimes shocking, a form of the interweaving of the literary and the cultural within the publicistic text. Keywords: editorial; persuasiveness; language; image; publicistic; literary PRIMELE ARTICOLE ROMÂNEȘTI DESPRE POSTMODERNISM Drd. ROBERT CINCU Universitatea „Babeș-Bolyai” Cluj-Napoca Abstract: The paper analyses some of the first Romanian theoretical articles focused on the topic of postmodernism. My aim is to identify common features among these texts and to establish their role in the larger context of Romanian culture in general. I will focus mainly on two texts dating from the early 70’s, respectively from the early 80’s (authors: Andrei Brezianu, Nicolae Manolescu). -
Rez Eng Postescu
RETROVERSIUNE Emil Giurgiuca - Monografie Unquestionably, those who know the literary life from Transylvania, as little as possible, will not consider a futile effort to remove a writer from the undeserved shadow where the history placed him. Emil Giurca’s cultural activity, because about him we are talking about, is a significant “brick” from the wall which was created along with the vast process of clarifying the literary and spiritual Romanian literature and culture. Creator of literature, respected educator, he was in the same time an important fighter for national ideal but also a great entertainer, a cultural advisor to generations of writers from the interwar and postwar period. As many researchers of the aesthetic values observed, it seems that in any literature are important writers, widely recognized from the valuable point of view “as others who fall slightly below, but on different places in the hierarchy of values, enriching and diversifying artistic landscape from their period of time”1. Originally poet from his homeland, as Dumitru Micu noticed in “Romanian Literary History”, he became later the national poet of the whole national space, Emil Giurca cannot easily be integrated in any current or cannot be said that he belongs to any literary school and “if he installed in the classical formula, adopted by traditionalists (as Ion Barbu, a Paul Valery writer), he did it of course, because this formula and only it suited to his sensibility”2, Dumitru Micu said. Each poem in consistent with the requirements of the art is organize by an act of inner balance, a sense of the extent of composition; this is what we call Emil Giurca’s modernism. -
Serban Cioculescu
Viaţa lui I.L. Caragiale Şerban Cioculescu (7 septembrie 1902 – 25 iunie 1988) este unul dintre cei mai importanţi critici şi istorici ai literaturii române. A absolvit Facultatea de Litere şi Filozofie la Bucureşti şi a studiat filologia romanică la Sorbona şi la École Pratique des Hautes Études din Paris. Publicist redutabil, a colaborat la Vremea, Vitrina literară, România literară, Revista Fundaţiilor Regale, Lumea, Viaţa Românească, Gazeta literară, Cahiers roumains d’ études litteraires, Manuscrip tum. A editat revistele Viaţa univer - sitară şi Kalende, alături de VIadimir Streinu, Pompiliu Constantinescu şi Tudor Şoimaru. A fost redactor-şef la Viaţa Românească între 1965 şi 1967. În 1935 editează Corespondenţa dintre I.L. Caragiale şi Paul Zarifopol (1905– 1912), urmată de: Viaţa lui I.L. Caragiale (1940; ed. a II-a, revăzută, 1969), Aspecte lirice contemporane (1942), Istoria literaturii române moderne, vol. I, în colaborare cu Vl. Streinu şi T. Vianu (1944; ed. a II-a, 1985), Dimitrie Anghel. Viaţa şi opera (1945), Introducere în poezia lui Tudor Arghezi (1946; ed. revăzută, 1971), Curs de istoria literaturii române moderne. Literatura militantă (1947), Varietăţi critice (1966), I.L. Caragiale (1967), Medalioane franceze (1971), Aspecte literare contemporane. 1932–1947 (1972), Itinerar critic, vol. I–V (1973–1989), Amintiri (1973; ed. a II-a, 1981), Caragialiana (1974; ed. a II-a, 1987), Viaţa lui I.L. Caragiale. Caragialiana (1977), Pro - zatori români. De la Mihail Kogălniceanu la Mihail Sadoveanu (1977), Poeţi români (1982), Introducere în opera lui Dimitrie Anghel (1983), Introduction à la poésie de Tudor Arghezi (1983), Argheziana (1985), Eminesciana (1985), Dialoguri literare (1987). ŞERBAN CIOCULESCU Viaţa lui I.L.Caragiale Redactor: Anca Lăcătuş Coperta: Ioana Nedelcu Tehnoredactor: Manuela Măxineanu Corector: Cristina Jelescu DTP: Radu Dobreci Tipărit la C.N.I. -
The Identity of the Romanian Pre-Avant-Garde
Études et articles THE IDENTITY OF THE ROMANIAN PRE-AVANT-GARDE Dr. Paul DUGNEANU “Ovidius” University of Constanţa [email protected] Rezumat: În evoluţia şi dialectica fenomenului literar de la sfârşitul secolului al XIX-lea şi începutul secolului al XX-lea, se observă o perioadă de declin artistic, de confirmare a curentelor şi a mişcărilor literare, perioadă care neagă tradiţia şi care, prin intermediul unor elemente importante, vine să anunţe avangarda istorică. Ne referim aici la o serie de curente literare şi artistice ce conţin un set de trăsături similare, cu un fetiş pentru noutatea care şochează şi un suport oferit valorilor generale şi în mod normal acceptate, fără să conţină forţa de penetrare, agresivitate, coerenţă sau împrăştiere a avangardei actuale: fauvism, cubism, futurism, imagism, vorticism şi altele. Cuvinte cheie: Pre-avangardă, anti-tradiţionalism, manifest poetic, post-simbolism, program- articol, arhitext Abstract: In the evolution and dialectics of the literary phenomenon at the end of the XIX century and the beginning of the XX century we can note a period of artistic fizzle, of confirming literary currents and movements, that vehemently deny the tradition and which, through some important elements, shall announce the historical avant-garde. We are referring to a series of artistic and literary currents, with a set of similar features, having a fetish for the shocking novelty and bracketing of the established and generally accepted values, without having the force of penetration, aggressiveness, coherence and spreading of the actual avant-garde: the fauvism, cubism, futurism, imagism, vorticism and others. Keywords: Pre-avantgarde, anti-traditionalism, poetic manifest, post-symbolist, programme- article, archi-text. -
Perpessicius-Mentiuni-Critice.Pdf
PERPESSICIUS MEN|IUNI CRITICE CUPRINS Not[ asupra edi\iei .....................................................................2 Tabel cronologic ..........................................................................3 MEN|IUNI DE ISTORIOGRAFIE LITERAR{ +I FOLCLOR LOCUL LUI DIMITRIE CANTEMIR }N LITERATURA ROM~N{ .... 11 LA CENTENARUL LUI ANTON PANN ......................................... 29 EMINESCIANA PROZA LITERAR{ A LUI EMINESCU ......................................... 64 EMINESCU +I TEATRUL .......................................................... 107 POSTUMELE LUI EMINESCU .................................................. 132 EMINESCU +I FOLCLORUL ..................................................... 140 ALECSANDRIANA POEZIA LUI VASILE ALECSANDRI ........................................... 170 ALECSANDRI +I LIMBA LITERAR{ .......................................... 191 VASILE ALECSANDRI, DUP{ 75 DE ANI .................................. 208 MEN|IUNI CRITICE BOGDAN PETRICEICU HASDEU .............................................. 215 CARAGIALE — }NTEMEIETORUL REALISMULUI NOSTRU CRITIC ..................................................................... 244 NOTE DESPRE ARTA PROZEI LA CARAGIALE .......................... 248 GEORGE CO+BUC .................................................................. 262 LIRISM +I NARA|IUNE }N OPERA LUI MIHAIL SADOVEANU 265 CARTEA POEMELOR NE-”OSTENITE” ..................................... 270 ACTUALITATEA LUI BACOVIA ................................................ 274 CAMIL PETRESCU +I -
Biblioteca Judeţeană „Ioan N. Roman” Constanţa
CÃRTI CU AUTOGRAF GELU CULICEA MANUSCRISE SI CÃRTI CU DEDICATII AUTOGRAFE ÎN COLECTIILE BIBLIOTECII JUDETENE CONSTANTA 1 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF 2 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF BIBLIOTECA JUDEÞEANÃ CONSTANÞA GELU CULICEA MANUSCRISE SI CÃRTI CU DEDICATII AUTOGRAFE ÎN COLECTIILE BIBLIOTECII JUDETENE CONSTANTA - Bibliografie adnotatã - Prefaþã de CONSTANTIN NOVAC CONSTANÞA, 2000 3 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF SERIA DIN COLECÞIILE BIBLIOTECII JUDEÞENE CONSTANÞA 4 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF 5 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF 6 Biblioteca Județeană „Ioan N. Roman” Constanța CÃRTI CU AUTOGRAF ARGUMENT Biblioteca Judeþeanã Constanþa deþine un valoros fond de carte, de la primele tipãrituri româneºti la opere în ediþii princeps semnate de personalitãþi româneºti ºi ale culturii universale, fiind în cadrul instituþiilor de profil una dintre marile depozitare de culturã. Este demn de remarcat faptul cã în cadrul acestor colecþii existã un bogat fond de manuscrise ºi cãrþi cu dedicaþie ºi autograf. O parte a acestora a fost evidenþiatã cu diverse ocazii: expoziþii de carte, articole în publicaþii de specialitate. Altele, pânã în decembrie 1989, fãcând parte din colecþiile speciale nu erau accesibile publicului. Existã acum ocazia de a fi valorificate. Menþionãm o serie de personalitãþi care au înnobilat cu semnãtura sau dedicaþia proprie paginile unor volume: Tudor Arghezi, Felix Aderca, Cincinat Pavelescu, Regina Maria a României, C.C. Giurãscu, Martha Bibescu, Ion Creangã, Panait Istrati, Victor Eftimiu, George Cãlinescu, Aron Densuºianu, A.C. Cuza, Camil Petrescu, Anton Pann, George Murnu, Radu D. Reosetti, Stendhal, Tudor Vianu, C. -
Textual Transpositions and Identity Games in I.L. Caragiale's Late
Textual Transpositions and Identity Games in I.L. Caragiale’s Late Writings ∗ Doris MIRONESCU Key-words: cultural identity , irony , ambivalence , Balkan literature , textual transposition The first critical edition of I.L. Caragiale’s Works , initiated by Paul Zarifopol in 1930 at “Cultura Na ţional ă” Publishing House, opens with the famous photo of the author taken in Berlin, in which Caragiale sits cross-legged, oriental-style, on a similarly themed rug, dressed in Balkanic garb, wearing a fez and white long socks, posing evidently for the camera with his chin resting on his closed hand and his eyes gazing intently to the right. But, even in these carefully asorted Levantine surroundings, one cannot fail to notice that behind the posing artist there is a heavily stacked library, filled with thick manuscripts that seem to overflow. The image is, therefore, twice symbolic: on the one hand, because in it Caragiale seems to claim to be returning to the “ethnic roots” that he often reclaimed polemically, orally and in writing, precisely to contradict the partisans of a ridiculous and violent Romanian nationalism; on the other hand, because this return takes place in the foreground of a library, or better yet of literature 1. Caragiale’s entire work is characterized by a frequent use of intertextual procedures, but these appear to become even more often in his last period of creation, in Berlin (1905–1912). The critics have long remarked that “Caragiale drew a character face for himself” (Tomu ş 1977: 340) but he exploited it especially now, in the later years at Berlin, to present himself under the largely known name “nenea Iancu” ( Ţal!..